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Backstory is such a delicate line to walk. How much is too much? What serves to add verisimilitude? Which bits enrich the story and which just drag the pace down? How can it be brought in elegantly?

I know the history of my world for the DUAL MAGICS series and how it got to be the way it is at the beginning of the story, but only snatches of that have made their way into the story so far. (Some day, I may write a prequel series about all of that.) For now, I try to keep to just what is needed for this story. But it looks like I haven’t put in quite enough.

I can’t emphasize the importance of critiques enough. Beta readers can tell me things about my story that I can’t see because, no matter how hard I try, I’m just standing too close. The first of my critiques for BEYOND THE PROPHECY has come in.

????????????????????????????????????????????????????????????????????????????????Among other things, it’s clear that I need to work in more background on part of this world. There are places where I can do that, I think, without slowing the story down.

 

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Titles

Some people seem to have a gift for titles. I’m not one of them. I struggle to find appropriate titles.

In the DUAL MAGICS series so far:

THE SHAMAN’S CURSE fits that story well. The shaman tries to curse Vatar, but equally, the shaman’s obsession with vengeance curses him.

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THE VOICE OF PROPHECY was originally THE IGNORED PROPHECY. Both fit the story pretty well. The new title hopefully does a better job of telling the reader what kind of story they’re going to get.

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BEYOND THE PROPHECY is just so-so. The characters at least feel that the prophecy is now behind them (when, really, they’ve just survived the triggering event.) I suppose I have time for inspiration to strike. It wouldn’t be too hard to change the cover.

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The last book in the series is right now known by the highly original title of . . . Book 4. Ideas I’ve had so far:

  1. The Price of Magic
  2. Magic’s Price
  3. Magic’s Warrior
  4. Warrior of Magic
  5. Paladin (or Champion) of Magic
  6. War of Magic
  7. War Magic
  8. Magic Paladin

None of them are so far striking me as anything close to perfect. I’d like to have at least a best guess by the time I publish BEYOND THE PROPHECY in (hopefully) September so I can use it for the teaser excerpt. We’ll see.

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Sometimes I’d really like to be able to outline a story and know exactly how it goes. But that’s just not the way it works for me.

I do at least map out the high (and low) points of a novel before I start. (Though they have been known to change as I go, too.) But I could sit and stare at the screen for days waiting for the inspiration to know how to fill in the very wide blank spaces that leaves. It just would never come.

The only time those ideas come to me is when I’m actually writing. Well, not necessarily when I have my fingers on the keyboard. But, you know, when I’ve gotten up for a little and I’m walking the dogs or (infrequently) cleaning the house. That’s when I get the ideas for how to get from point A to point B. But only if, when I sit back down, I’m actually writing the story.

And, anyway, sometimes a story will just take a left turn and go somewhere else instead. And that’s often better than what I’d planned.

Not going to happen in the last book of the DUAL MAGIC series. (At least, I don’t think so.) But that is exactly what happened in DAUGHTER OF THE DISGRACED KING.

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Still working on the blurb for BEYOND THE PROPHECY.

????????????????????????????????????????????????????????????????????????????????If beginnings are hard, blurbs (or queries) are even harder.

Here’s what I have so far–on the third try. Still not there, yet.

Being one of a handful graced—or cursed—with both kinds of magic places Vatar at the center of turmoil. In more ways than one.

As power shifts in his adopted city, Vatar must choose. Support the traditional rulers for the sake of stability, even though their rule is based on a lie. Or reveal that lie and help those who would create a new order. Only Vatar, with ties to both sides, is in a position to decide which is best.

But that choice will have to wait while he tries to find a way to deal with enemies gathering on the border. Foes that could mean disaster for both his city and the plains-dwelling tribe who raised him. Only magic can provide a reliable defense. Magic the plains people fear more than any enemy.

But when he’s captured by one of those enemies, Vatar will have to prove his boast that it’s impossible to imprison anyone who can do what he can—or die.

Now, if I can just find a way to work in some of the unique aspects of the world without driving the word count up.

Yeah, blurbs are hard.

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Not in the data protection sense, although I do that, too.

No, this time I mean backing up as in going back a little for the start of this story (Book 4, currently untitled, of the Dual Magics series). I said in my last post that beginnings are hard. And they are–until you find the right place to enter the story.

In my first stories, I more often had to cut from the beginning, because I’d started the story too early. A couple of times now I’ve had to back up and put the beginning a little earlier. I guess that’s a kind of progress.

Anyway, I backed up to, among other things, start with a little more urgency–and a tiny bit of action. I like this beginning much better. Of course, I won’t really know if it’s the right place to start until I write THE END at the bottom of the first draft.

Meanwhile, I’m also trying to iron out the blurb for Book 3, BEYOND THE PROPHECY, which is much harder.

????????????????????????????????????????????????????????????????????????????????Blurbs, pitches, and queries are an art form unto themselves. And they take a lot of revision to get right–or close to right.

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BEYOND THE PROPHECY is ready to go out to my beta readers.

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And I’ve just started the fourth (and final) book in the Dual Magics series. Yeah, I’ve written a whole 1600 words, but it is a start.

Beginnings are hard. Even in an ongoing series when you’re already very familiar with the characters and the world, it’s still hard. And you never really know where the story should start until you write the end.

Two scenes in and I’ve already decided that I need to back up just a little. Not that I think the story has started in the wrong place, but that I want to find a way to give the beginning a little more action. I think I see a way to do that.

Part of the problem with this beginning is that I have two conflicting issues.

  1. Every book in this series has started with Vatar. And I really want this one to start there, too.
  2. But the place where the main conflict is introduced necessarily centers on another character who has put herself in a position to discover the enemies plans. She’s not a major character and I don’t want the first chapter to be from her POV. Chapter 2, fine, but not Chapter 1.

So, I need to start with Vatar. Not–yet–with the main conflict. But with something at least a little exciting (this is the book where all the conflicts blow up, after all) and something that’s important to the overall story.

This is why beginnings are hard, but I think I see a way to do that. We’ll see.

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I’m a discovery writer (or pantser), but a modified one. Why modified? Because once, when I was fairly new to writing, I actually managed to write over 100,000 words on a novel and, as I was writing the final scene, I looked up and said to myself, “But it’s not a story.” I knew intuitively that it wasn’t a story, but it took me a lot longer to figure out why. (By the way, once I finally figured it out and learned a few other matters of craft, that not-quite-a story became THE VOICE OF PROPHECY.)

?????????????????????????????????????????????????????????????????????????????????????????????So, now I try to figure out a few sign posts along the way before plunging in.

Obviously, I need to know where the story begins. By which I mean not necessarily the opening scene, which can change. The inciting incident is usually pretty stable, though, and that’s what I need to know.

A few of the major plot points along the way is nice. I do make notes of or even sketch out a few scenes that come to me, but I’ve always done that (even in that draft that wasn’t really a story). Some of those will make it into the final version intact. Some will have to be changed to fit. And some will have to be left out or cut.

I like to know the climax. Of course, I’ve known the climax the DUAL MAGICS series was headed for for a long time, now, so that’s not a problem.

Sometimes I’ll even write out what I call a proto synopsis, hitting just the high (or low) points of the story.

But the main thing I absolutely have to know is the central conflict. Without that, it’s just a string of events. That’s the reason that that very first version of THE VOICE OF PROPHECY (then known as THE IGNORED PROPHECY) wasn’t a story. The germ of the central conflict was there, but it just wasn’t clear enough to be the backbone of the story.

I’ve been organizing all of this because, very soon now, I’m going to be starting the first draft of Book 4, the final book of the DUAL MAGICS series, tentatively titled WARRIOR OF MAGIC. Can barely wait.

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That’s what I’ve calculated I need to accomplish on this round of revisions to have BEYOND THE PROPHECY ready for beta readers on June 1st.

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So far, so good. Fortunately, this round is only looking for small inconsistencies and some style issues. Also, places where I need to add more description.

As soon as I’ve handed it off, I get to start work on the fourth (and last) book in the DUAL MAGICS series. Looking forward to that.

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I’ve started the third round of revisions to BEYOND THE PROPHECY.

????????????????????????????????????????????????????????????????????????????????This will be the last round before I turn it over to my beta readers next month.
Whew! Good thing, too. It’s sort of beginning to all run together. About time I gave it a rest and came back to it fresh.

On schedule for a September release, if all goes well.

While my beta readers have it, I’ll be starting the fourth (and final) book of the DUAL MAGICS series, tentatively titled MAGIC’S WARRIOR or possibly WAR OF MAGIC. Yeah, this is the one where it all hits the fan.

Though I’m a (modified) discovery writer, I’ve been doing a little planning for that.

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Daughter of the Disgraced King releases Monday (May 18th).

???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????It’s only $0.99 to pre-order.

The world building for part of this world is based largely on the settlement-era desert Southwest. Adobe buildings, stagecoaches, though not the political structure or the magic. Here’s a little sample:

Early the next morning, Ailsa gave each of her parents one last hug and turned to board the stagecoach that would take her to the imperial capital. It was a plain, functional coach that, from the visible wear, had made many trips across the desert. When she put her weight on the small folding step to climb in, the coach swayed alarmingly. Evidently, maintenance hadn’t included replacing the worn springs. Hopefully, the roads wouldn’t be too rough or this was going to be a very bumpy ride. The padding on the seats was thin, too. Ailsa sighed. It would have been faster and more comfortable just to ride Pearl all the way. She wouldn’t have had to share the cramped space with strangers, either.

As soon as she was aboard, the four guards climbed up to the seats on the top of coach. Ailsa placed the smaller valise that held the things she’d need en route under her seat and leaned out of the window to wave goodbye one more time.

Ailsa had never traveled far before—and never alone or in a public conveyance. Papa could have sent her by private coach, but that might have been construed as an impolitic show of wealth and privilege. The public coach wouldn’t be as comfortable, but there were royal guards riding on top, so it should be, if anything, safer than a private carriage.

Ailsa sat back and turned her attention to her fellow passengers. An elderly man had the seat next to Ailsa. He’d already leaned his head against the opposite wall of the coach, closed his eyes, and started to snore—loudly. A young girl sat across from Ailsa, apparently accompanied by the woman about Mama’s age sitting next to her.

On the other side of the woman, sat a slightly younger man—too old to be her son and too young for her husband. From the distance between them on the bench, Ailsa didn’t think they were traveling together. His clothing and appearance would be consistent with a well-off merchant or maybe some distant relative of one of the barons. Nothing about him should be alarming except for his manner. His open, appraising stare made Ailsa want to pull the demure collar of her traveling dress closed in spite of the growing desert heat. Ailsa looked away. He had no business looking at her like that, but perhaps a closed coach wasn’t the best place to confront him about it. They were already as far apart as the coach permitted. It would be best to try to ignore him.

Ailsa smiled uncertainly across at the woman and turned to look out her window. The road was wide enough for two coaches to pass each other going in opposite directions. Ailsa’s seat gave her a view on the outer side of the road, where a double row of sycamore trees shaded the highway from the desert sun. The trees weren’t thick enough to completely obscure the desert beyond.

Ailsa felt heavy and enervated. It must be all the emotional ups and downs of the last few days. She had trouble even keeping her eyes open, but she didn’t want to miss anything on this trip. If only everything along this highway didn’t look so much the same . . .

Ailsa jerked awake as the coach pulled to a stop. She couldn’t have slept all day. No, the sun was high overhead and the heat was oppressive. They’d come to a wider green area, surrounding a small oasis. A rustic building made of crude mud bricks stood across a cobbled yard. The coachmen leaped down and began to unhitch the sweaty horses.

One of the guards climbed down from the roof right in front of her, making Ailsa start. He opened her door and stood back. “We’ll stop here for a meal and to change the horses. If you’d care to disembark . . .”

Ailsa stepped down and stood in the yard, uncertain what to do now. She stretched gratefully, easing out the kinks in her neck and legs. The coach’s springs weren’t nearly as good as those on her father’s coach. It was surprising that she’d been able to doze with all the bouncing, but maybe she’d needed that nap. She certainly felt better. The midday heat didn’t seem to bother her so much, even though there was no air moving at all. The others climbed out of the coach more slowly. Ailsa followed them inside.

Inside, a long table of rough boards was already set with five places, platters of cheese, fruit, bread, and two pitchers of water. Ailsa sat down at one end of the table, across from the older woman and her daughter. She poured herself a cup of water before anything else. She’d forgotten how parched the desert could make her feel, even without moving around much. The rude man sat down beside her—too close beside her for Ailsa’s liking. She shifted over a little away from him.

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